AUSSTELLER-NEWS

Sep 11, 2026 - Oct 24, 2026
Bringing together sculptures, photographs, assemblages, and installations, The Failure of Order investigates themes of entropy, cognition, material transformation, and the instability of meaning.

The exhibition proposes that uncertainty is not a flaw to be overcome, but an intrinsic condition of our relationship with the world; revealing that what escapes classification, measurement, and representation is not beyond our systems of knowledge, but constitutes a hidden dimension within every structure we create.

Rather than depicting the collapse of systems, the exhibition focuses on the inherent limits of representation and knowledge. It examines the gap between reality and the models we construct to comprehend it, revealing how each attempt to impose order simultaneously exposes new layers of complexity.

Abdijstraat 2a Rue de l'Abbaye, 1000 Brussels, Belgium
Opening hours: Thursday - Saturday, 11am - 6pm
Contact info: +32 (0) 2. 644.34.54 - info@meessen.be - meessen.be

We will be opening our first exhibition dedicated to digital art, presenting SPLASH – Water (E)Motion – a collection of works by the highly acclaimed artist Fabrizio Plessi – in our gallery spaces. The exhibition at DIE GALERIE focuses on the SPLASH series, created around 2019, which combines the perfection of modern video technology with the timeless, meditative aesthetics of moving water.

Carved from a fine block of Carrara marble, the sculpture depicts Eros asleep, his youthful body reclining against a rocky support draped with a lion skin. Beside him lie his quiver, along with an inverted flaming torch symbolizing sleep and death. The delicate modeling and serene expression turn the god of love into a tender embodiment of tranquility. The marble's warm, beautiful honey-toned patina enhances its sensual presence. The restorations from the 16th and 17th centuries serve as a significant historical document. During the Renaissance and Baroque periods, damaged antiquities were not only preserved but also reintegrated by esteemed sculptors like Giovanni Battista della Porta, Ippolito Buzio, Nicolas Cordier, and later, Alessandro Algardi and the Bernini circle.
 

These figures are well-documented as restorers of ancient marbles for Rome's grand collections. The attention given to this marble is strong evidence that it was recognized early on as a work of exceptional quality. Such efforts were typically reserved for pieces entering the prestigious collections of cardinals and princely families. The restorations thus serve as an implicit pedigree, confirming the sculpture's place within a distinguished Renaissance collection.

As part of the NABIS exhibition, the HELENE BAILLY MARCILHAC gallery is spotlighting Édouard Vuillard this week, a major figure of the movement and a sensitive observer of everyday intimacy. At the end of the 19th century, Vuillard made his familiar surroundings one of his primary fields of experimentation. Interiors, everyday gestures, and the figures around him became the starting point for a style of painting in which the boundary between the figure and its setting seems to gradually blur.

His mother, Marie Vuillard, occupies a central place in this world. *Marie Opening the Window*, painted in 1893, and *Madame Vuillard Sewing*, created in 1898, bear witness to this focus on the most everyday scenes. Far from seeking to capture mere anecdotes, Vuillard transforms these familiar moments into compositions where textures, motifs, and colors create a deeply personal atmosphere.

With *Elegant Woman, Square des Batignolles*, also painted in 1898, the viewer’s gaze leaves the domestic sphere and turns toward the city. Yet the same artistic pursuit remains: the figure blends into its surroundings to the point of almost becoming one with them. Dedicated to Thadée Natanson, co-founder of *La Revue blanche* and a close associate of the Nabis, the work is fully rooted in the artistic and intellectual circle in which Vuillard moved during this period.

A few years later, *The Little Model with a Bulgarian Hat*, circa 1912–1913, reveals another facet of his work. The model’s presence is more pronounced, while the painter’s penchant for fabrics, textures, and color harmonies remains. From domestic scenes to portraits, Vuillard thus pursues the same artistic quest: to make the surrounding life the very substance of his painting.

These four works, brought together for the NABIS exhibition, offer a journey through nearly twenty years of creative output and an opportunity to discover the uniqueness of Vuillard’s vision, which blends intimacy, decor, and modernity.

This September, Axel Vervoordt Gallery presents two solo exhibitions in Belgium and Hong Kong, bringing together distinct artistic practices shaped by light, rhythm, material, and perception.Jef Verheyen’s Silence of Light opens on Saturday, September 12th. The exhibition traces the Belgian artist’s lifelong exploration of light as an artistic medium of study. Next week in Hong Kong on September 17th, Axel Vervoordt Gallery is pleased to present Source, Kim Lim’s first solo exhibition with the gallery, featuring sculpture, prints, and photographic works that explore rhythm, transformation, and the vital energies held within matter. 

 

Jef Verheyen. Silence of Light
Kanaal, Wijnegem, Belgium
Opening Saturday, September 12, 2026

The exhibition features early paintings from the 1950s and 1960s in which Verheyen (1932-1984) explored the essence of light and space, as well as previously unreleased paintings from the 1970s when the Belgian artist transformed light into a subtle vibration, offering a glimpse of infinity. As the author of the Essentialism manifesto and a member of the ZERO movement, Verheyen sought purity and spirituality through monochrome colour fields and subtle geometric structures. Inspired by nature, mathematics, and philosophy, Verheyen used light as his primary artistic medium. His paintings invite viewers to experience contemplation, harmony, and the infinite rather than represent the visible world.

Kim Lim. Source
Hong Kong
Opening Saturday, September 17, 2026

Source brings together Lim’s sculptures, prints, and photographs in an exhibition exploring rhythm, transformation, and the vital energies held within matter. Taking its title from Lim’s 1988 sculpture, the exhibition begins with the idea of the source not simply as a fixed point of origin, but as a generative condition: a place from which forms emerge, change, and return. It also refers to source material - the observations, things, experiences, and documentation that inspired Lim’s artistic journey and process.

Opening Reception: Thursday, September 17th, 5 - 8 pm
Panel Discussion: Saturday, September 19th, 3 - 4 pm
Speakers: Bianca Chu, Alex Turnbull, Johnny Turnbull
Moderated by Payal Uttam - As capacity is limited, please RSVP to Axel Vervoordt Gallery Hong Kong.

 

Kim Lim (1936 - 1997), Source II, 1988, granite and artist's base, 64 x 44 x 25 cm.
Courtesy Estate of Kim Lim, London.
 

10.09 - 19.12.26

Rue Veydt 15, 1060 Brussels

Liturgie des jours brings together the work of Sasha Kurmaz and Danylo Halkin, two Ukrainian contemporary artists, in the gallery’s central nave. Each offers a witness to the conflict that has engulfed their daily realities, Kurmaz through a daily practice rooted in found photography and collage, and Halkin through a deep engagement with the history of stained glass in the region. Taken together they offer a prismatic and meditative encounter with the lived experience of war.
 
Sasha Kurmaz’ Red Horse is a ritualistic daily practice. The artist has been making collages each day since the beginning of Russia’s full scale invasion of Ukraine in 2022. He gathers found images, handwritten notes and his own photographs and layers them onto found cardboard and other materials. The series is a single work, a statement made of hundreds of individual collages that the artist has pledged to continue to make until the war stops. The first part of the work, 464 collages, is exhibited here in its entirety for the first time. 
 
The themes range from direct documentation of the destruction around him, to meditations on the psychology of violence, and the endurance of the mundane.  The artist calls it “a diary of life” rather than a diary of war, reminding us that this is vital, quotidian reality — the diaristic shaping of a consciousness. Read more...

Sasha Kurmaz, The Red Horse, 2022–2026, ongoing.

 

Colnaghi Brussels has invited COSEINCORSO to curate The Order of Things, an exhibition placing works from the gallery’s collection in dialogue with objects and photographs produced by the design studio.

The exhibition examines how the interpretation of an object is shaped by its surroundings and by its relationship to other works. Paintings, antiquities, furniture and contemporary design are presented together within an installation conceived as an interior, recalling the arrangement of a private collection or an artist’s studio. In place of a chronological display, works from different periods are connected through specific correspondences of material, form, function and subject.

By returning the selected works to an interior setting, The Order of Things considers how objects move between different contexts: from artistic production and practical use to collection, display and reinterpretation. Distinctions between periods and media are maintained, while their arrangement makes new comparisons possible.

COSEINCORSO is a design studio founded by Marzia Cerio and Marwann Frikach. Working at the intersection of craftsmanship, curation, and contemporary aesthetics, the studio develops objects and spaces that reconnect design with meaning and narrative depth.

Opening: Thursday 10 September, 2 - 9 pm
Exhibition running till 31 October 2026 at Quai du Commerce 5, 1000 Brussels 

Galerie Christophe Gaillard is pleased to present in Brussels Old DNA, the first solo exhibition at the gallery by Dutch artist Folkert de Jong.
With Old DNA, Folkert de Jong explores the enduring traces of our history. History never appears here as a fixed narrative, but as a living heritage that transforms upon contact with new ideas, images, and identities. The title first evokes an ancient, genetic memory: a set of vestiges, recollections, and cultural codes passed down from generation to generation. In de Jong’s work, these invisible layers take on tangible form. Sculptures and installations occupy the space as embodiments of a collective memory - at once familiar and foreign, monumental and fragile.

Bringing together several sculptural ensembles, Old DNA invites visitors to reflect on the narratives they inherit, the roles they take on, and the futures they build from this memory. Between decay and rebirth, memory and imagination, Folkert de Jong composes a universe in which ancient beliefs resurface in forms that are at times unsettling, at times absurd, but always deeply human.

The Planter, 2026 et Double Nailed Trouble, 2026

Opening: Thursday, 10 September 2026, 17:00 - 21:00
Exhibition duration until 19 December 2026
Bernier/Eliades is pleased to announce the representation of Tony Cragg in Belgium and in Greece. On this occasion, the gallery in Brussels presents SYMMETRIES, a solo exhibition by Tony Cragg featuring a new series of works. 

Renowned for his visionary approach to sculpture, Tony Cragg emerged in the late 1970s with assemblages made from found materials before developing a distinctive sculptural language combining natural and synthetic elements, cumulative and sedimented forms, and a sustained investigation of intersections of body, materiality, object, and space. Working across bronze, wood, steel, and composite media, his virtuosic handling of materials in fresh ways explores the expressive potential of materiality and how form evolves through processes of tension, balance, and continuous reconfiguration.

In this exhibition, Cragg approaches symmetry not as a static principle of reflection or order but as a generative condition within sculptural thinking, moving beyond the confines of the organic and utilitarian spheres. Symmetry appears here as something unstable, unpredictable, and active, produced through shifting relations between mass and void, repetition and deviation, structure and deformation. Rather than fixed equilibrium, the works suggest systems in constant negotiation, where balance is achieved through movement and transformation, conveying fluidity of layered shapes and intersecting axes.

The self-described radical materialist approaches form with a minimalist and almost mathematical structural logic, manipulating matter into molten-like dynamic sculptures, balancing abstraction and figuration, strength and fluidity, stillness and movement, precision and distortion. The result of the combination of rationality and dream-like thought is gravity-defying silhouettes that transcend the merely visual, inviting an exploration of the previously unimagined.

Tony Cragg (b. 1949, UK) lives and works in Wuppertal, Germany. 
 
Tony Cragg
SYMMETRIES
The Gallery is open from Tuesday to Saturday, 12:00 - 18:00

Exhibition on view from September 19 to November 14, 2026

Patrick Derom Gallery presents the first major retrospective of Ai Weiwei in Belgium, spread across two venues in Brussels’ Sablon district.

Bringing together iconic works from the 1990s alongside recent creations, the exhibition offers an overview of the artist’s multifaceted practice. Landmark works such as Study of Perspective, Han Dynasty Urn with Coca-Cola Logo, Illumination, and Backpack Snake explore recurring themes of cultural memory, power, and freedom of expression.

A companion exhibition at the Emile Verhaeren Museum (Sint-Amands) traces the unique connection between the Belgian poet Émile Verhaeren and Ai Qing, Ai Weiwei’s father, whose translations introduced Verhaeren’s poetry to China. Together, both exhibitions reveal the personal and intercultural narratives that continue to shape Ai Weiwei’s work.

MARUANI MERCIER is delighted to present Kasper Sonne: People Are Strange, the second solo exhibition of the artist with the gallery, opening on 10 September 2026 in Brussels. Elegant and upright, the figures in this new body of work appear at once in harmony with and in disassociation from the lucid planes of water and sky in the landscape. Looking away in quiet contemplation, the elongated human presence in each work projects an almost mythic quality, as if traversing the space in solitude that feels timeless rather than incidental.

The paradox of iconic contemporary outfits in natural settings, together with the spectral light and the luminous palette in this new body of work projects a powerful sense of the instability of the human condition and questions the possibility of connection with another. As the artist notes, “For me, it's always this conflict – it's about displacement. I create these characters that have no obvious reason to be in these environments.”

In Purple Rain, the composed stance of the protagonist against electric hues of blue and magenta, with her elegant suit and gloves, conjures the sense of a carefully constructed image – a projection of contemporary identity, rather than a portrayal of a specific person. Working in layers, Sonne carves each character from an array of visual sources, from art historical references to fashion advertisements found on social media. Foregrounding quotations from signature pieces of contemporary fashion, the artist uses clothing as a cultural signifier, binding the figures to questions of status, aspiration and belonging...
Kasper Sonne, Skull Earring, 2026, oil on linen | 200 x 150 cm | 79 x 59 in

Kasper Sonne, Purple Rain, 2026? oil on linen | 195 x 250 cm | 77 x 98 in

Another Life presents a new body of work by Alvin Ong that bears witness to the transition, and recovery from the artist’s self-confessed burnout in 2025. What has emerged are beguiling layers of multiplicity and texture. Bodies thin into ethereal translucency. They blend and bleed. Individual faces can be made out, encased in their own melancholy, sometimes contorted into split, or fractured souls... Learn more

Lisa Vlaemminck. Dressage Ruined by Puffers

(OPENING) SEPTEMBER 10, 5-9 PM
(EXHIBITION) SEPTEMBER 10 - OCTOBER 24, 2026
(LOCATION) 32 RUE DE LIVOURNE, 1050 BRUSSELS

With Dressage Ruined by Puffers, Belgian artist Lisa Vlaemminck presents a new series of shaped paintings at rodolphe janssen. Cut from wood into recognisable silhouettes—a tooth, a hairstyle, a slice of cheese, a chicken leg—the works establish a relation between the physical form of the support and the image painted onto it. The two do not necessarily correspond. A recognisable contour can carry an unrelated image, while the image can alter how the contour is perceived... Learn more

Opening on 7 September and continuing until 17 November 2026, Out of the Sand: Ancient Egypt Rediscovered brings together antiquities, paintings, works on paper, early photographs and rare books to examine the long history through which ancient Egypt has been studied, collected and represented.

Egypt was never lost to the Egyptians, but its monuments and material culture were repeatedly presented to audiences elsewhere as discoveries. Roman artists absorbed Egyptian forms into the visual and religious life of the Empire, while European scholars, artists and travellers later approached the country through the intellectual and political concerns of their own periods. The Egypt that entered books, paintings, photographs and museums was therefore shaped as much by the circumstances of its reception as by the ancient civilisation from which it derived.

The exhibition begins with objects made for use within Egyptian society, many of which were intended for funerary contexts in which the preservation of the body, name and identity of the deceased was understood to secure continued existence after death. Their subsequent removal from tombs and temples placed them within very different systems of meaning, first as objects of excavation and private collecting, and eventually as subjects of scholarly classification and museum display.

Napoleon’s campaign of 1798 represents an important moment in this history. Although the military expedition ended in failure, the scholars, engineers and artists who accompanied it undertook a survey of Egypt on an unprecedented scale, later published in the monumental Description de l’Égypte. During the nineteenth century, archaeological publications, Orientalist painting and photography carried the monuments of the Nile to an increasingly wide European audience. The architectural views of David Roberts and the early photographs of Maxime Du Camp belong to this expanding visual record, although neither medium offered a neutral account of what it claimed to document.

Out of the Sand places ancient objects beside the works through which later generations attempted to record and understand them, considering the history of Egyptology alongside the history of representation. In doing so, the exhibition examines how the surviving material evidence of ancient Egypt acquired new meanings as it passed through excavation, scholarship, collecting and display.

The exhibition forms part of the wider programme of Colnaghi’s Oriental Art Department.

Sculptor’s Trial Piece Fragment, Egyptian Late Dynastic Period, neo-Memphite, 30th Dynasty, c. 380–343 BC, limestone, 8.1 × 13.4 cm.

View the exhibition catalogue

COLNAGHI LONDON
26 BURY STREET, LONDON SW1Y 6AL
UNITED KINGDOM
 

17 septembre - 31 octobre 2026 
Vernissage le jeudi 17 septembre

Cette année, pour fêter les 40 ans de la galerie, mère et fille organisent une exposition réunissant les 2 artistes, Henri Michaux le peintre-poète né en Wallonie en 1899 et Zao Wou-Ki, peintre et graveur chinois et phare du courant d’abstraction lyrique. Arrivé en France en 1948 et aussitôt à l’œuvre, Zao Wou-Ki réalise ses premières lithographies. Immédiatement conquis, Michaux compose un ensemble de textes sur huit lithographies de Zao Wou-Ki. C’est le début d’une belle amitié qui liera les deux hommes jusqu’à la mort de Michaux en 1984.

« Je n’ai malheureusement pas connu Michaux mais ma relation avec sa compagne, Micheline Phankim a été magnifique. Elle était très douce, attentive et compétente. Les grandes écritures de Michaux m’ont depuis toujours accompagnée. La rencontre avec Zao a été une des plus marquantes. Je me souviens de sa grande gentillesse. [...] En 2006, il participa à l’exposition Chine - Occident, ou l’aventure du signe avec Tobey, Degottex, Shan Sa et bien sûr Michaux. Il est émouvant de revoir les œuvres de ces deux artistes exposées côte à côte sur les murs de l’ancienne galerie Pierre, qui accueillit successivement Henri Michaux en 1938, puis Zao Wou-Ki en 1951 avant de devenir la Galerie Berthet-Aittouarès. » Michèle Aittouarès

Catalogue avec textes de François Michaud et Catherine Zittoun. 

Exposition réalisée en collaboration avec la Fondation Zao Wou-Ki et les Archives Henri Michaux

­Henri Michaux et Zao Wou-Ki lors du vernissage de l'exposition de Zao Wou-Ki à la galerie de France en 1980. © Sin-May Zao.

Discover a first selection of works from Dirk Van Saene’s new solo exhibition 'All Nightingales Understand One Another'. Van Saene once again turns to the human figure. Angular and fragile, yet remarkably tender, his figures give physical form to emotions that are often difficult to put into words. The new series grew partly out of Van Saene’s concern with a growing lack of empathy in the world around him. Rather than addressing this directly, he explores vulnerability, tenderness and human connection through the emotional language that has long characterised his practice.The title 'All Nightingales Understand One Another' captures this idea poetically: the possibility of understanding one another without the need for explanation.

The collaboration between artists and writers in the creation of portfolios and illustrated books dates back to the fifteenth century. The oldest known illustrated book is the Egyptian Book of the Two Ways, dating from around 2050 BC, while the first illustrated printed books appeared around 1450. From the end of the nineteenth century onwards, portfolios experienced a remarkable flourishing. Whether created in collaboration with writers or conceived independently, they have continued to offer artists an inspiring challenge, while providing writers with an opportunity to reach a broader and more diverse audience. They may also be regarded as a means of making art more accessible and democratic. At the same time, many illustrated books and portfolios stand out for their exceptional craftsmanship and refinement.

Following his exhibition at The Wunderwall, Edouard Devriendt presents his first solo exhibition with the gallery. The exhibition brings together a new series of paintings in which he continues his exploration of memory, perception and the emotional charge of familiar images. Devriendt’s paintings often begin with fleeting encounters. A house, a bowl of fruit or a tree is photographed instinctively on his phone and later becomes the starting point for a painting. As he paints, the original image gradually gives way to memory and atmosphere. What remains is recognisable, but at the same time slightly removed from reality. Through restrained colour and surfaces that deliberately remain unresolved, Devriendt transforms ordinary subjects into images that feel both familiar and distant. Rather than telling a fixed story, the paintings leave space for personal associations and memories to emerge.

The Wunderwall is moving. From September onwards, our platform for emerging artists will leave the gallery and take up a new, permanent position in the display window of our office, directly across the street. Visible day and night, the new location gives each artist their own space for approximately six weeks. A QR code connects the physical presentation with The Wunderwall Online, where visitors can discover more about the artist, their practice and the works on view.

The new Wunderwall opens with Noa Balon. In his work, Balon embraces the struggle of painting: the attempts, detours, hesitation and coincidences that occur along the way. Rather than searching for a perfect outcome, he allows the process itself to become part of the work.

 

Didi Ng Wing Yin, Pleats Vase No.19, 36,5x25x56,5cm, pine wood, Indian ink, shellac (detail)

Isaac Monté, Crystallized Blue in Green, salt, minerals and oxides

Fondazione Dries Van Noten, Palazzo Pisani Moretta, Venice, Italy

“I want to paint nothingness, which is everything, silence, light, measure, order, harmony. The infinite.” With these words, Antonio Calderara described what he sought in his painting. They also encapsulate an idea that runs through the exhibition Silence: a concentration on the essential and the notion that reduction can give rise to a particular intensity.

In Calderara’s work, light itself almost becomes the subject of painting. Raimund Girke and Robert Ryman explore the possibilities of the colour white, while Piero Manzoni, in his Achromes, dispenses with colour as a means of artistic expression. In the works of Heinz Mack, Hermann Goepfert, Walter Leblanc, Hal Busse, Dadamaino and Turi Simeti, light, structure and surface become essential means of expression. Other works in the exhibition find their silence in repetition, emptiness, material or restrained gesture.

In the exhibition, these works of the 20th and 21st centuries encounter ancient Chinese bronzes and ceramics. They come from another time and another culture and follow their own ideas of form, material and meaning. Yet connections emerge: in the clarity of form, in the attention given to surfaces and materials, and not least in what is allowed to remain unspoken and empty, and in what arises in between.

In cooperation with Vanderven Oriental Art, ’s-Hertogenbosch, the Netherlands.

With works by: Pablo Atchugarry · Hermann Bartels · Hal Busse · Antonio Calderara · Chun Kwang Young · Dadamaino · Herman de Vries · Raimund Girke · Hermann Goepfert · Gotthard Graubner · Gerhard Hoehme · Tschang-Yeul Kim · Stefan Kürten · Walter Leblanc · Heinz Mack · Piero Manzoni · Fausto Melotti · Milan Mölzer · Morio Nishimura · Robert Ryman · Ursula Schulz-Dornburg · Turi Simeti · Paul Van Hoeydonck and ancient Chinese bronzes and ceramics

Opening: 4 September, 6 pm
On view: 5 September – 21 November 2026

BECK & EGGELING International Fine Art 
Bilker Str. 5 / 40213 Düsseldorf
Germany

I’m Too Young To Die brings together mostly new productions alongside selected earlier works, tracing recurring concerns within Gilles Pegel’s practice. Digital technologies, artificial intelligence, financial markets, logistics, online culture, branding and automation appear throughout the exhibition as parts of an increasingly interconnected reality. Moving between sculpture, installation, painting, textiles, neon and mixed media, the works shift in material and form according to what each one demands.

Popular culture is present throughout. References to gaming, fashion, advertising and digital culture offer familiar points of entry into broader questions around value, identity, consumption and the systems shaping everyday life.

The title I’m Too Young To Die borrows the iconic difficulty setting from DOOM, but its meaning extends beyond gaming. It speaks to something much more universal: our awareness of mortality and, in the context of an artistic practice, the urge to make sense of the time we are living in. The works become bookmarks of that process, fixing a thought or observation before the world, and our understanding of it, moves on.

Humour is often the first point of contact, but beneath it lies an attempt to understand an increasingly complex present and the place we occupy within it.

Brun Fine Art is happy to present its Summer exhibition: L’oro e l'infinito

The exhibition brings together works created across distant centuries yet united by a shared aspiration: the search for what lies beyond the visible.

The gold-ground paintings, produced between the second half of the 14th century and the 15th century by masters such as Luca di Tommè, Francesco di Michele, Álvaro Pirez d’Évora, and Tommaso de Vigilia, represent one of the highest achievements of Italian painting between the Late Gothic and the Early Renaissance periods. In these works, gold is not merely a decorative element; it creates a space suspended between matter and transcendence, projecting the image beyond the earthly realm.

Centuries later, artists such as Piero Dorazio, Corrado Cagli, Lucio Fontana, Roberto Crippa, Mario Schifano, Michelangelo Pistoletto, Mirko Basaldella, Georges Mathieu, Gio Ponti, Gio Pomodoro, and Giorgio de Chirico engage, through diverse visual languages, with universal themes such as space, light, mystery, and presence. This dialogue is further enriched by the work of ABI, a contemporary brand that employs stone as a material of memory, translating its historical stratification into essential forms.

The comparison is grounded neither in stylistic affinities nor in a contrast between the ancient and the contemporary. Rather, it reveals a continuity of thought: the desire to transcend the limits of representation and materiality in order to give form to the indefinable.

Between the preciousness of gold, the strength of stone, and the essentiality of modern visual language, the exhibition unfolds as a journey spanning more than six centuries of art history, demonstrating how the pursuit of the absolute continues to renew itself across time.

Artists Featured in the Exhibition:

ABI
Alex Katz
Álvaro Pirez d’Évora
Corrado Cagli
Fausto Melotti
Francesco di Michele
Georges Mathieu
Gianfranco Meggiato
Gio Pomodoro
Gio Ponti
Giorgio de Chirico
Luca di Tommè
Lucio Fontana
Mario Schifano
Mariotto di Cristofano
Michelangelo Pistoletto
Michele di Matteo
Mirko Basaldella
Piero Dorazio
Roberto Crippa
Rosario Pulvirenti
Tommaso de Vigilia
Tommaso del Mazza



Brun Fine Art
Via Gesù 17, Milan
Tuesday – Saturday
10:30 AM – 1:00 PM | 2:00 PM – 7:00 PM
The exhibition will be on view through August